Best Practices for Music Cataloging: Using RDA and MARC21, Version 1.1

Transcription

1 Western Washington University From the SelectedWorks of Casey A. Mullin February 17, 2015 Best Practices for Music Cataloging: Using RDA and MARC21, Version 1.1 Casey Mullin, Western Washington University Available at:

2 Best Practices for Music Cataloging Using RDA and MARC21 Version February 2015 Prepared by the RDA Music Implementation Task Force, Bibliographic Control Committee, Music Library Association 1 This will be the final version issued as a complete stand-alone PDF file. Concurrent with release of this PDF document is the release of best practices content integrated into the RDA Toolkit.

3 RDA Music Implementation Task Force Members Casey Mullin, chair Mary Huismann Damian Iseminger Nancy Lorimer Daniel Paradis Raymond Schmidt Hermine Vermeij Stanford University University of Minnesota New England Conservatory of Music Stanford University Bibliothèque et Archives nationales du Québec Wellesley College University of California Los Angeles 2

4 Table of Contents Background... 4 Purpose and Scope... 4 Use of this Document... 5 Section 1. Recording Attributes of Manifestation & Item... 6 Chapter 1. General Guidelines on Recording Attributes of Manifestations and Items... 6 Chapter 2. Identifying Manifestations and Items... 8 Chapter 3. Describing Carriers Chapter 3, Appendix. Guidelines for Describing and Encoding Attributes of Audio Recording Carriers Chapter 4. Providing Acquisition and Access Information Section 2. Recording Attributes of Work & Expression Chapter 5. General Guidelines on Recording Attributes of Works and Expressions Chapter 6. Identifying Works and Expressions Chapter 7. Describing Content Section 3. Recording Attributes of Person, Family & Corporate Body Chapter 11. Identifying Corporate Bodies Section 5. Recording Primary Relationships Between Work, Expression, Manifestation, and Item Chapter 17. General Guidelines on Recording Primary Relationships Section 6. Recording Relationships to Persons, Families, & Corporate Bodies Chapter 18. General Guidelines on Recording Relationships to Persons, Families, and Corporate Bodies Associated with a Resource Chapter 19. Persons, Families, & Corporate Bodies Associated with a Work Chapter 20. Persons, Families, & Corporate Bodies Associated with an Expression Section 8. Recording Relationships between Works, Expressions, Manifestations, and Items Chapter 24. General Guidelines on Recording Relationships between Works, Expressions, Manifestations, and Items Chapter 25. Related Work Chapter 26. Related Expression Chapter 27. Related Manifestation Appendices Appendix D. Record Syntaxes for Descriptive Data Complete MARC Record Examples

5 Background The RDA Music Implementation Task Force was formed in September Its charge 2 comprises several tasks, three of which are fulfilled in the present document: 1. Create music-related best practices documentation to supplement Resource Description and Access (RDA). 2. Make recommendations regarding the relationship between the MLA music-related best practices document and other official RDA policies such as the Library of Congress/Program for Cooperative Cataloging Policy Statements (LC-PCC PS) and other decisions disseminated by PCC. 3. Create complete examples for scores, audio recordings, musical works, and musical expressions. Purpose and Scope These best practices guidelines should: Provide sufficient guidance for creating and enhancing both basic descriptions ( core records ) and more robust descriptions of musical resources and the musical works and expressions embodied therein. In MARC21, these descriptions take the form of bibliographic and authority records. Be comprehensible and useful to both catalogers transitioning from an AACR2 environment and newly-trained catalogers. Be usable as the basis for training materials, such as cataloging manuals and workshop curricula. Be amenable for repurposing for use in future data environments 3. Be amenable for repurposing for use by agencies applying RDA in other languages. 2 Complete text of charge here:

6 Use of this Document These best practices guidelines are arranged by RDA instruction number. RDA instructions are arranged according to the entities embodied in resources, their attributes and their relationships, rather than by carrier format (as was the case in AACR2); these guidelines are structured accordingly. Situations pertaining to specific formats are described in the context of the applicable RDA instruction. This document should be consulted in combination with RDA itself, as well as any local and/or cooperative policies, including LC-PCC PS and section Z1 of the Library of Congress Descriptive Cataloging Manual (DCM Z1) 4. MARC mappings and examples are intended to supplement the RDA to MARC mappings given in the Toolkit, as well as the MARC21 documentation itself 5 and encoding guidelines specific to the cataloging interface 6. Cases where LC-PCC PS gives sufficient guidance, and where these guidelines contravene LC-PCC PS, are indicated as such. These guidelines presume no prior knowledge on the part of the reader of the Anglo-American Cataloging Rules, 2 nd Edition, Revised (AACR2) or their accompanying Library of Congress Rule Interpretations (LCRI). However, pertinent comparisons to AACR2 are made in a limited number of cases (i.e., when RDA practice differs fundamentally). 7 These guidelines do presume a basic level of training with RDA and LC-PCC PS, however. With a few exceptions, cataloging guidelines of a general nature, such as for identifying and constructing access points for persons and corporate bodies, are out of scope for this document. Recommendations prefaced by if feasible apply to elements that are not identified as RDA Core (or in some cases LC Core-plus ), but that the Task Force feels are routinely valuable to transcribe or record for music resources. Cataloger s judgment dictates that any such elements which are difficult to ascertain or burdensome to transcribe or record do not fall into the category of feasibility and thus may be omitted. The Task Force also understands that the above criteria will vary from cataloger to cataloger, and from agency to agency. In an increasingly distributed global metadata environment, the burden of completeness need not rest with an individual metadata creator. Thus, these recommendations are equally intended to serve as guidance when enhancing existing metadata for music resources. Recommendations designated if readily ascertainable apply to information present on the resource being cataloged, or information encountered during the course of routine authority research. 4 Available in Cataloger s Desktop ( A prime example is OCLC s Bibliographic Formats and Standards ( Note that at the time of writing of these best practices guidelines, the documentation available at this site has not yet been fully harmonized with RDA. 7 For a more thorough comparison of the two codes, see presentation by Adam Schiff, available at For a comparison of the two codes as applied to music resources, see presentation by Daniel Paradis, available at 5

7 Section 1. Recording Attributes of Manifestation & Item Chapter 1. General Guidelines on Recording Attributes of Manifestations and Items 1.4. Language and Script MLA recommendation: Follow LC-PCC PS. If feasible, follow LC-PCC PS also for the first alternative (LC and/or PCC practices, as applicable) and the optional addition, that is, transcribe both the original script and a transliterated form for the elements listed. Otherwise, transcribe only the transliterated form Type of Description MLA recommendation: for large multi-volume sets and series of notated music (i.e., those that are typically classed in M2-M3.1), generally create separate descriptions for the set/series as a whole and for each volume in the series, regardless of whether the set is classed together or not. Relate separately cataloged volumes to the main work following the guidelines in Chapter 25 (Related Works) Comprehensive Description MLA recommendation: Follow LC-PCC PS Analytical Description MLA recommendation: Follow LC-PCC PS Hierarchical Description MLA recommendation: Generally follow LC-PCC PS, except when applying the recommendation given under

8 Transcription MLA recommendation: Follow LC-PCC PS, including for both alternatives, that is, for each separate element, either take what you see from the resource or apply Appendix A, per local policy and/or cataloger s judgment. When in doubt, leave a space between a caption (e.g., op. ) and an opus or thematic index number Symbols MLA recommendation: Follow LC-PCC PS Form of Numerals MLA recommendation: Follow LC-PCC PS for 1 st alternative. Note: this may result in a different form of numeral in a series transcription (490) and its corresponding access point (8xx). EXAMPLES: 490 1_ AIMP ; $v CIII 830 _0 Archives internationales de musique populaire (Series) ; $v _ Documenta musicologica. Zweite Reihe, Handschriften- Faksimiles ; $v Band XLIII 830 _0 Documenta musicologica. $n 2. Reihe, $p Handschriften-Faksimiles ; $v Notes--Capitalization MLA recommendation: Follow LC-PCC PS for both alternatives. 7

9 Chapter 2. Identifying Manifestations and Items Resource Issued in More Than One Part This instruction applies to many kinds of music resources, including multi-disc audio recordings, scores issued with parts, sets of parts, etc. The following are guidelines for determining the basis for identifying the resource as a whole, and thereby choosing a preferred source of information, in several common cases. Multi-part audio recordings: 1) Generally apply b) if parts are numbered and title information is repeated on each part. If title information is not repeated, treat the individual parts as a collective source. 2) Generally apply a) if parts are not numbered and title information is repeated on each part. If title information is not repeated, treat the individual parts as a collective source. Scores issued with parts: Generally apply a) and treat the score (along with a cover or wrapper if present) as a source of information identifying the resource as a whole. Sets of parts with no score: Generally apply a) if there is a cover or wrapper, and treat it as a source of information identifying the resource as a whole. If there is no cover or wrapper, select one of the parts as the source of information identifying the resource as a whole. Use judgment in making this selection, giving preference to parts that would generally appear first in score order (e.g., violin I in a string quartet, flute in a wind quintet). In both cases, apply and make a note on the source of the title. Books or scores issued with audio/video carriers: Generally apply a) or d) as follows: 1) If the audio/video carrier is affixed to the cover or endpapers of the book/score, apply a) and treat the book/score as the source of information identifying the resource as a whole. Apply ) If the book/score and audio/video carrier is housed together in a single container (e.g., a box containing a CD jewel case and a book) or the book/score is inserted into the container (e.g., a booklet in a jewel case), or the book/score is the same size as the audio/video carrier, apply d) and treat the audio/video carrier as the main part. Note that a booklet cover which is visible through the front of a container forms part of that container. Apply or as appropriate. 3) In cases of doubt, base the decision on the perceived intent of the publisher and/or the relative importance of each component to the cataloging agency Basis for Identification of the Resource--Analytical Description--Single Part See Best practices for the treatment of pages that consist of a list of titles, one of which is a title of the resource being described. 8

10 Preferred Source of Information--Resources Consisting of One or More Pages, Leaves, Sheets, or Cards (or Images of One or More Pages, Leaves, Sheets, or Cards) Note: for printed music, cover is preferred over caption. 8 Use cataloger's judgment in determining whether or not the resource has a cover. Generally consider a cover to be made of substantially different material (e.g., heavier or different colored paper) than the paper on which the music is printed. If a resource is being described analytically, and has a page that consists of a list of titles, one of which is the title of the resource being described, use judgment to decide whether that page or another source (e.g., a caption) provides the best source for the description of the resource. Generally apply and make a note on title source. Apply to choose the title proper for the resource, if applicable Preferred Source of Information--Other Resources This instruction applies to all audio carriers Title Proper--Titles of Parts, Sections, and Supplements MLA recommendation: Follow LC-PCC PS. EXAMPLES: Choraleworks. $n Set II, $p Ten chorale preludes for organ Ouvertures per il teatro di Shakespeare. $n N. 5, $p Il racconto d'inverno : $b per orchestra Bolivian Baroque. $n Vol. 2, $p Music from the missions and La Plata Billboard #1s. $p The '70s The Dick Cavett show. $p Ray Charles collection Musical theatre for classical singers. $p Soprano The compilations with this title for other voice ranges contain different songs. but Songs of separation / $c William Grant Still. 250 Tenor. This piece is published in tenor and baritone versions. 8 Under AACR2, caption was preferred over cover. 9

11 Other Elements Recorded as Part of the Title Proper--Type of Composition, Medium of Performance, Key, Etc. MLA recommendation: Consult the alphabetical list at Types of Composition for Use in Authorized Access Points for Music to determine whether the title in question meets the condition of the instruction. Do not consider such titles as "Double concerto," "Tripelkonzert", etc. to be names of types of compositions. When a composer uses a word which is normally the name of a type of composition as the title of a work which is definitely not a work of the type designated by the word, do not consider the title to be the name of a type of composition. A title consisting of two words, each of which alone would be the name of a type of composition, may in combination produce a distinctive title. Generally treat such a compound title as a distinctive title Title Proper--Resources Lacking a Collective Title MLA recommendation: Follow LC-PCC PS, that is, generally do not apply the alternative. Apply the alternative in cases of archival or other large collections. Note that since resources of this type do not normally carry title information, the exception at applies and no square brackets are necessary. EXAMPLES: Collection of 18th century English songs and ballads The Vivian Perlis Collection of Schmitz, Ornstein, Copland, and Kirkpatrick Title Proper--Recording Devised Titles MLA recommendation: Follow LC-PCC PS for the alternative. 10

12 Parallel Title Proper MLA recommendation: If feasible, record all parallel titles proper appearing on the preferred source. Optionally, record parallel titles appearing elsewhere in the resource. Parallel titles from any source in the resource may be transcribed in 245 $b or $c, without square brackets. Parallel titles should also be encoded in , to ensure proper indexing. EXAMPLE: 100 1_ De Pastel, Karen, $d Unter den Ga rten von Bolhás : $b 9 Stu cke u ber ungarische Volksmelodien fu r 2 Flöten = In the gardens of Bolhás : 9 pieces based on Hungarian folksongs for 2 flutes / $c Karen De Pastel In the gardens of Bolhás When a parallel title is taken from outside the preferred source and recorded in 246 (in addition to 245 $b or $c), apply (Note on Title Source) by encoding either a 500 note or an introductory phrase in 246 $i. EXAMPLE: Das dunkle Reich = $b Dark kingdom Dark kingdom 500 English title from caption. Or Das dunkle Reich = $b Dark kingdom 246 1_ $i English title from caption: $a Dark kingdom Alternatively, parallel titles from outside the preferred source may be given only in 246 1_ with an introductory phrase in $i. This approach may be preferable when multiple parallel titles appear in different sources, and therefore the second paragraph at is difficult to apply. EXAMPLE: Píseň bohatýrská = $b Heroisches Lied = A hero's song = Le chant héroïque : op. 111 / $c Antonín Dvořák _ $i Parallel title on cover: $a Heldenlied Heroisches Lied Hero s song Chant héroïque 11

13 Other Title Information MLA recommendation: Follow LC-PCC PS, that is, routinely transcribe other title information appearing in the same source as the title proper. Give subtitles, alternative titles, etc. appearing on other sources (e.g., cover, caption, container spine of an audio carrier) if deemed useful for identification or access. Since other title information as defined in RDA can only be transcribed from the same source as the title proper, encode such subtitles as variant titles (per 2.3.6) in 246. Use indicators 13, 1_ with $i, or other indicator values according to local practice, as appropriate. EXAMPLES: Barry Manilow _ $i Subtitle on cover: $a Sing 8 of his best with sound-alike CD tracks El lenguaje del tambor 246 1_ $i Subtitle on container: $a Bata rhythms & techniques from Matanzas, Cuba 246 1_ $i Subtitle on container spine: $a Collection of tracks from performers who made their name at Harlem's legendary Apollo Theatre 246 1_ $i Subtitle on insert: $a Tribute to Peter Tosh Parallel Other Title Information MLA recommendation: If feasible, transcribe all parallel other title information. See D.1 for guidance on encoding parallel data in 245, using ISBD presentation Recording Variant Titles MLA recommendation: Follow LC-PCC PS. Encode titles in 246 or 740 as appropriate. When encoding variant titles in 246, use indicators 13, 1_ with $i, or other values according to local practice, as appropriate. 12

14 EXAMPLES: spirituals a cappella : $b traditional Afro- American songs 246 3_ Sixty-four spirituals a cappella Oscar Wilde's The happy prince Happy prince Variations on "Awariguli" Awariguli Jazz concerto : $b Hot-Sonate (Jazz-Sonate) (1930) : für Altsaxophon und Klavier Hot-Sonate Jazz-Sonate The art of tremolo : $b a comprehensive analysis of the tremolo technique 246 1_ $i Title appears on item as: $a Mel Bay presents The art of tremolo Threnody for the victims of Hiroshima / $c Krzysztof Penderecki. Popcorn superhet receiver / Johnny Greenwood. Polymorphia / Krzsztof Penderecki. 48 responses to Polymorphia / Jonny Greenwood Popcorn superhet receiver Polymorphia responses to Polymorphia Forty-eight responses to Polymorphia Männerlist grösser als Frauenlist Männerlist grosser als Frauenlist, oder, Die glückliche Bärenfamilie = $b Men are more cunning than women, or, The happy bear family Men are more cunning than women, or, The happy bear family Männerlist grosser als Frauenlist Glückliche Bärenfamilie Happy bear family Nigeria 70. $p Sweet times : $b Afro-funk, highlife & juju from 1970s Lagos Sweet times Afro-funk, highlife & juju from 1970s Lagos 246 3_ Nigeria seventy 246 3_ Afro-funk, highlife and juju from 1970s Lagos 9 In this example, Ma nnerlist gro sser als Frauenlist is being given both as the preferred title (in 240) and as a variant title based on the first part of an alternative title (in 246), per LC-PCC PS (D)(1). 13

15 Statements of Responsibility--Scope MLA recommendation: For the purposes of this instruction, generally consider that the participation of performers of popular music, jazz, etc., is not limited to performance, execution, or interpretation, and record statements identifying these performers as statements of responsibility Recording Statements of Responsibility MLA recommendation: Follow LC-PCC PS, that is, generally do not apply the optional omission Statement of Responsibility--Statement Naming More than One Person, Etc. MLA recommendation: Follow LC-PCC PS, that is, generally do not apply the optional omission Noun Phrases Occurring with a Statement of Responsibility This instruction applies regardless of whether the noun(s) or noun phrase(s) is/are indicative of the nature of the work 10, and regardless of whether the noun(s) or noun phrase(s) appear(s) immediately adjacent to the prepositional phrase(s) following it. EXAMPLES: Tartuffe : $b comic opera in three acts / $c music and libretto by Kirke Mecham Der Freischütz / $c Oper in 3 Akten von C.M. von Weber La sonnambula / $c Vincenzo Bellini ; melodramma in due atti di Felice Romani ; riduzione per canto e pianoforte condotta sull'edizione critica della partitura a cura di Alessandro Roccatagliati e Luca Zoppelli. If deemed useful for identification or access, encode a variant title in 246, using indicators 13, for any noun(s) or noun phrase(s) not already recorded as title information. 10 Under AACR2, such nouns were transcribed as other title information. 14

16 Statement of Responsibility Relating to Title Proper MLA recommendation: If feasible, record all statements of responsibility relating to title proper appearing on the preferred source. Optionally, record statements of responsibility relating to title proper appearing elsewhere in the resource. Statements of responsibility relating to title proper from any source in the resource may be transcribed in 245 $c, without square brackets. If transcribing statements from multiple sources, apply and give them in the order that makes the most sense, according to judgment. Generally, give statements from prominent sources (e.g., cover, caption, title page verso) before statements from other sources, and give all statements appearing in the resource before statements from outside the item (which are given in square brackets). For the purposes of this instruction, do not consider attributions, etc. embedded in text to be statements of responsibility. If desired, apply and give such attributions as notes on statement of responsibility. EXAMPLES: A piece for Yvonne : $b for solo piano / $c Gustav Holst ; edited by Raymond Head. On caption: edited by Raymond Head Nänie : $b for chorus of mixed voices with orchestra (and harp ad libitum) op. 82 / $c [poem by] Friedrich Schiller ; [music by] Johannes Brahms ; English version by Alma Strettell. On title page: Friedrich Schiller, Johannes Brahms. On caption: English version by Alma Strettell. On cover: music by Johannes Brahms, poem by Friedrich Schiller. (Statements from title page transcribed first, and applied) On the beach at Fontana : $b soprano and piano / $c Roger Sessions ; text by James Joyce. On cover: text by James Joyce Parallel Statement of Responsibility Relating to Title Proper MLA recommendation: If feasible, transcribe all parallel statements of responsibility relating to the title proper. See D.1 for guidance on encoding parallel data in 245, using ISBD presentation. 15

17 Recording Edition Statements Encode multiple designations of edition, designations of named revision of edition, etc. in 250. However, when a designation of a named revision is linked to an edition statement, encode both in a single 250. EXAMPLES: 250 Revised 1947 version. 250 Full orchestral score. 250 Full score. 250 Second printing with revisions. but 250 4th ed., reprinted with corrections Edition Statements Relating to Issues or Parts A common case in music is when a score, cataloged together with parts, bears the statement Score (or its equivalent). Per this instruction, do not treat such a statement as a designation of edition, as it does not apply to the entire resource. 16

18 Designation of Edition The most common designations of edition in music resources fall into category (b)(vii), a statement indicating a particular voice range or format for notated music. 11 Treat a statement indicating a particular voice range that is not grammatically linked to the title, other title information, etc. as a designation of edition, whether or not it includes the word "edition" or its equivalent. EXAMPLES: 250 Low voice Songs of separation / $c William Grant Still. 250 Tenor Songs of separation / $c William Grant Still. 250 Baritone. This piece is published in tenor and baritone versions. but Musical theatre for classical singers. $p Soprano The compilations with this title for other voice ranges contain different songs. For the latter type ( format for notated music ), refer to the list of formats given at for guidance in determining whether the statement in question fits the scope or not. Some formats of notated music (e.g., vocal scores, chorus scores, piano scores, etc.) are special cases inasmuch as they have dual identities: as a format of notated music, subject to this instruction 12, and as a type of arrangement. Do not treat other statements of arrangement, transposition, etc. as designations of edition; transcribe those statements as statements of responsibility, per 2.4. When in doubt, treat the statement as a statement of responsibility. 11 Under AACR2, statements of the latter type were treated as Musical Presentation Statements, and encoded in MARC field Under AACR2, vocal score statements were treated as Statements of Responsibility. 17

19 EXAMPLES: 250 Partitur und Stimmen. 250 Klavierauszug. 250 Studien- und Dirigierpartitur Six great secular cantatas / $c Johann Sebastian Bach. 250 In full score. On title page: Six great secular cantatas in full score Orlando furioso : $b dramma per musica in tre atti, RV 728 / $c Antonio Vivaldi ; arrangement pour clavier, Jacques Manet 250 Chant et clavier. On title page: Arrangement pour clavier, Jacques Manet. On cover: Chant et clavier. but / $c ; flute and piano reduction Konzert für Violine und Orchester D-Dur / $c Ludwig van Beethoven ; Ausgabe für Violine und Klavier von Christian Rudolf Riedel. On title page: Ausgabe fu r Violine und Klavier von Christian Rudolf Riedel = Edition for violin and piano. For statements containing "Urtext" and its variants: consult the National Authority File to see if the usage by a particular publisher has been established as a series or series-like phrase. If appropriate, transcribe as a series statement (see 2.12). In other cases, use judgment in determining whether the statement fits the "difference in content" criterion and thus may be transcribed as an edition statement. When in doubt, do not transcribe as an edition statement. 18

20 Parallel Designation of Edition MLA recommendation: If feasible, transcribe all parallel designations of edition associated with a particular edition statement in 250 $b. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields. EXAMPLES: 250 Study score = $b Studienpartitur. 250 Partytura = $b Score = Partitur. 250 Erstdruck = $b First printing. 250 Partitur und Stimmen = $b Score and parts. 250 Limited edition = $b Edicio n limitada. 250 E dition critique = $b Edizione critica = Critical edition Statement of Responsibility Relating to the Edition MLA recommendation: If feasible, transcribe all statements of responsibility relating to a particular edition statement in 250 $b. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields. EXAMPLES: 250 Klavierauszug = $b Vocal score / Paul Horn. 250 Revised edition / $b by Leslie Howard. 250 Vocal score / $b revised by Michael Pilkington. 19

21 Parallel Statement of Responsibility Relating to the Edition MLA recommendation: If feasible, transcribe all parallel statements of responsibility relating to a particular edition statement in 250 $b. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields. EXAMPLES: 250 Vocal score / $b arranged by Sam Jones = Klavierauszug / bearbeitet von Sam Jones. 250 Partition chant et piano d'après le Urtext de l'édition "L'opéra français" / $b par Karl-Heinz Müller = Piano reduction based on the Urtext of the edition "L'opéra français" / by Karl-Heinz Müller = Klavierauszug nach dem Urtext der Ausgabe "L'opéra français" / von Karl-Heinz Müller. 250 Neuausgabe nach den Quellen= $b New edition based on original sources. 250 Partitur = $b Full score. 250 Erstveröffentlichung, Klavierauszug = $b First edition, Vocal score = Première edition, Partition pour piano Designation of a Named Revision of an Edition MLA recommendation: If feasible, transcribe all designations of named revision of an edition, in 250 $a or $b as applicable. Separate multiple designations of named revision of edition by a comma. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields. EXAMPLE: 250 5th edition, with corrections. 250 Study score. 20

22 Parallel Designation of a Named Revision of an Edition MLA recommendation: If feasible, transcribe all parallel designations of a particular named revision of edition in 250 $b. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields Statement of Responsibility Relating to a Named Revision of an Edition MLA recommendation: If feasible, transcribe all statements of responsibility relating to a particular named revision of edition in 250 $b. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields Parallel Statement of Responsibility Relating to a Named Revision of an Edition MLA recommendation: If feasible, transcribe all parallel statements of responsibility relating to a particular named revision of edition in 250 $b. Note that any subsequent designations of edition, their associated designations of named revision of edition, etc. should be encoded in separate 250 fields Place of Production MLA recommendation: If deemed useful for identification or access, transcribe place of production in 264 (2 nd indicator 0) $a. EXAMPLES: 264 _0 [Boston, Massachusetts] Title frames: An evening of opera scenes, recorded in Studio 401, March 4, 2011, by the Boston Conservatory. 264 _0 New York Resource is a holograph sketch. Caption: Trio in D (1950) / B. Martinů. Page 11: New York, February 26,

23 Producer s Name MLA recommendation: If deemed useful for identification or access, transcribe producer s name in 264 (2 nd indicator 0) $b. EXAMPLES: Date of Production 264 _0 [Boston, Massachusetts] : $b Boston Conservatory Title frames: An evening of opera scenes, recorded in Studio 401, March 4, 2011, by the Boston Conservatory. 264 _0 New York : $b B. Martinů Resource is a holograph sketch. Caption: Trio in D (1950) / B. Martinů. Page 11: New York, February 26, MLA recommendation: record date of production in 264 (2 nd indicator 0) $c. EXAMPLES: Place of Publication 264 _0 [Boston, Massachusetts] : $b Boston Conservatory, $c March 4, Title frames: An evening of opera scenes, recorded in Studio 401, March 4, 2011, by the Boston Conservatory. Resource is a first-generation videocassette. 264 _0 New York : $b B. Martinů, $c 1950 February 26. Resource is a holograph sketch. Caption: Trio in D (1950) / B. Martinů. Page 11: New York, February 26, MLA recommendation: Follow LC-PCC PS. If more than one place is given in the resource and it is unclear which is the true place of publication and which is a place of distribution, foreign office, etc., give all places Place of Publication Not Identified in the Resource MLA recommendation: Follow LC-PCC PS. Interpret if possible to mean if feasible. 22

24 Publisher's Name MLA recommendation: Transcribe the names of all publishers appearing on the preferred source. If feasible, transcribe the names of all publishers appearing anywhere in the resource. Encode in 264 (2 nd indicator 1) $b. Treat a trade name or brand name used by a publishing company (i.e., a label in the case of audio recordings) as a publisher s name. EXAMPLES: 264 _1 [Hamburg, Germany] : $b Archiv Produktion, a Universal Music company 264 _1 New York, N.Y. : $b London On label: London; on container: London Records, a division of Polygram Records, Inc., New York, N.Y. Note that there is no option to transcribe a publisher name in the shortest form in which it can be understood and identified internationally. Thus, when in doubt as to whether a presentation of two names in the same source represents a publishing company and the name of a subdivision of that company or a trade name or brand name used by that company, or whether it represents two unrelated publishers, transcribe both names as separate publishers. EXAMPLES: 264 _1 Minneapolis, Minnesota : $b Libby Larsen Publishing : $b Kenwood Editions 264 _1 [Paris] : $b Opus111 : $b Naïve Publisher's Name--Statement of Function MLA recommendation: Generally do not apply the optional addition. 23

25 No Publisher Identified MLA recommendation: If transcribing a separate distributor statement in 264 (2 nd indicator 2), record [publisher not identified] in 264 (2 nd indicator 1) $b. If not transcribing a separate distributor statement in 264 (2 nd indicator 2), and it is believed the distributor is also the publisher, transcribe the distributor name in square brackets in 264 (2 nd indicator 1) $b. EXAMPLES: 264 _1 [Nanterre] : $b [Rue Stendhal] or 264_1 [Place of publication not identified] : $b [publisher not identified] 264 _2 [Nanterre] : $b distribué par Rue Stendhal 264 _1 [Chatsworth, California] : $b [Image Entertainment] or 264 _1 [Place of publication not identified] : $b [publisher not identified] 264 _2 Chatsworth, California : $b distributed exclusively by Image Entertainment On container: Distributed exclusively by Image Entertainment. No other publisher on item Date of Publication Not Identified in a Single-Part Resource MLA recommendation: Follow LC-PCC PS. Note that copyright date (whether or ) is a separate element in RDA. It, or a copyright renewal or transfer notice (see Best Practices 2.11) may be used to infer a publication date, but may not stand in as one. Give such inferred dates in square brackets. Routinely give copyright date separately, even if it is the same as the stated or inferred publication date. Give the date of publication in 264 (2nd indicator 1) $c and the copyright date in 264 (2nd indicator 4) $c. See Best Practices 2.11 for guidelines on selecting and recording copyright dates. EXAMPLES: 264 _1 $c [2011] 264 _4 $c 2011 and 008/6: t 008/7-14: 2011, _1 $c [2011?] 264 _4 $c 1991 Publication date inferred from date given in preface. 24

26 2.9. Distribution Statement MLA recommendation: If transcribing a distribution statement separately from a publication statement, encode it in 264 (2 nd indicator 2). It is not always necessary to record a separate date of distribution if date of publication and copyright are already recorded. EXAMPLES: 264 _2 Milwaukee, WI : $b Hal Leonard Corporation 264 _2 Kraków : $b Andromeda 264 _2 Kassel ; $a New York : $b distribution mondiale Bärenreiter 264 _2 Paris : $b distribution pour le monde entier, Alphonse Leduc 264 _2 Oaks, PA : $b Eclectic DVD Distribution When in doubt as to whether a person, family or corporate body is functioning as publisher or distributor, transcribe the name as a publisher s name Manufacture Statement MLA recommendation: Follow LC-PCC PS Place of Manufacture Encode place of manufacture in 264 (2 nd indicator 3) $a. EXAMPLE: 264 _3 Austria Manufacturer s Name Encode manufacture s name in 264 (2 nd indicator 3) $b. EXAMPLE: 264 _3 Austria : $b fabrique par Sony DADC 25

27 Date of Manufacture MLA recommendation: Follow LC-PCC PS, that is, routinely infer a publication date from a date of manufacture and/or copyright date if it seems reasonable to assume that date is a likely publication date. Do this even if also giving date of manufacture separately in 264 (2 nd indicator 3) $c. EXAMPLE: Copyright Date 264 _3 Austria : $b fabrique par Sony DADC, $c MLA recommendation: Follow LC-PCC PS, that is, generally do not record copyright dates for multipart monographs. For notated music, routinely record the latest copyright date in 264 (2 nd indicator 4) $c. EXAMPLE: 264 _1 $c [2011] 264 _4 $c 2011 For audio recordings, routinely record the latest phonogram copyright date in a separate 264 (2 nd indicator 4) $c. If it has been deemed useful for identification or access to also record the latest regular copyright date, record both dates in a single 264 (2 nd indicator 4) field, in separate occurrences of $c. EXAMPLES: 264_1 $c [2010] and 264_4 $c _1 $c [2010] and 264_4 $c 2010, $c 2008 Code Date type and Dates 1 and 2 in 008/06-14 as appropriate. 13 Do not transcribe a copyright renewal date as the copyright date. Do not transcribe a date of copyright transfer as the copyright date. 13 See for determining precedence of date type when coding multiple dates. 26

28 2.12. Series Statement MLA recommendation: Follow LC-PCC PS. For statements containing "Urtext" and its variants: consult the Library of Congress Name Authority File (LCNAF) to see if the usage by a particular publisher has been established as a series or series-like phrase. If appropriate, transcribe as a series statement. In other cases, use judgment in determining whether the statement fits the "difference in content" criterion and thus may be transcribed as an edition statement (see 2.5.2). When in doubt, do not transcribe as an edition statement Parallel Title Proper of Series MLA recommendation: If feasible, transcribe all parallel titles proper of series Statement of Responsibility Relating to Series MLA recommendation: Routinely transcribe the first statement of responsibility for series representing the complete works or selected works of one composer. EXAMPLE: 490 1_ Ausgewählte Werke / Homilius 800 1_ Homilius, Gottfried August, $d $t Works. $k Selections. $f Parallel Statement of Responsibility Relating to Series MLA recommendation: If transcribing a statement of responsibility relating to a series (such as for the complete works or selected works of one composer), and if transcribing one or more parallel series statements for the same series, routinely transcribe a parallel statement of responsibility corresponding to each parallel series statement transcribed. See D.1 for guidance on encoding parallel data in 490, using ISBD presentation. EXAMPLES: 490 1_ Sämtliche Werke für Laute / Silvius Leopold Weiss ; $v Band 2 = $a Complete works for lute / Silvius Leopold Weiss ; $v volume _ Weiss, Silvius Leopold, $d $t Lute music. $f 2002 ; $v Bd _ Opera omnia latina / Matthei Rosmarini ; $v I/1 = $a Collected works / Mateo Romero ; $v volume I/ _ Romero, Mateo, $d 1575 or $t Choral music. $k Selections ; $v 1/1. 27

29 ISSN of Series MLA recommendation: Follow LC-PCC PS Numbering Within Series MLA recommendation: Follow LC-PCC PS Parallel Title Proper of Subseries MLA recommendation: If feasible, transcribe all parallel titles proper of subseries. See D.1 for guidance on encoding parallel data in 490, using ISBD presentation ISSN of Subseries MLA recommendation: Follow LC-PCC PS. 28

30 2.13. Mode of Issuance Though LC-PCC PS 2.13 indicates that this is a core element for LC/PCC, current implementations of the MARC21 Bibliographic Format in North America do not provide an unambiguous means 14 for coding mode of issuance for a multipart monograph 15. Rather, this particular mode of issuance is inferred based on a number of clues elsewhere in the record. For the following types of multipart monographs, mode of issuance is indicated by one or more of the following. Multi-volume scores and audio recordings: 008/06 ( Type of Date/Publication Status ) m 300 $a begins with a numeral higher than 1 followed by a term for type of carrier (e.g., 2 audio discs ) 300 $a contains (x volumes), where x is a numeral higher than 1 Scores issued with part(s): 008/21 or 006/04 ( Music parts ) d, e, f 300 contains a + x part(s) Multiple instances of 300 Sets of parts with no score: 008/21 or 006/04 ( Music parts ) d, e, f 300 $a begins with a numeral higher than 1 followed by parts Books or scores issued with audio/video carriers: 300 contains $e Multiple instances of present Audio/video carriers with accompanying volume (insert, booklet, etc.): 300 contains $e (uncommon) Multiple instances of 300 (uncommon) 500 note describing accompanying material Recording Modes of Issuance MLA recommendation: Follow LC-PCC PS. 14 The RDA to MARC mapping for Mode of Issuance for a multipart monograph designates Leader/19 ( Multipart resource record level ), a character position which is currently not available for direct encoding in OCLC or most other cataloging interfaces. Per LC-PCC PS , Leader/07 m is to be encoded for both single and multipart monographs. 15 Defined in RDA as A resource issued in two or more parts (either simultaneously or successively) that is complete or intended to be completed within a finite number of parts (e.g., a dictionary in two volumes, three audiocassettes issued as a set). Note that this definition applies to a resource regardless of how its component carriers are described. See for guidance on describing accompanying material. 29

31 2.15. Identifier for the Manifestation MLA recommendation: If feasible, record all standard identifiers present on the resource, including but not limited to the following. MARC coding is indicated in parentheses. ISBN (020) ISMN (024 (1 st indicator 2)) EAN (024 (1 st indicator 3)) UPC (024 (1 st indicator 1)) Issue number (audio recordings) (028 (1 st indicator 0)) Matrix number (audio recordings) (028 (1 st indicator 1)) Videorecording number (028 (1 st indicator 4)) EXAMPLES: _ _ M _ HBR $b Hidden Beach Recordings EK $b Epic On container: Hidden Beach Recordings, Manufactured and distributed by Epic OA 0969 D $b Opus Arte Record qualifying information following the identifier as appropriate (e.g., for components of a multipart monograph, or for variant forms of an identifier). EXAMPLES: $b Philips Classics $q (set) $b Philips Classics $q (disc 1) $b Philips Classics $q (disc 2) ECM 2316 $b ECM $q (disc 1) $b ECM $q (disc 1) ECM 2317 $b ECM $q (disc 2) $b ECM $q (disc 2) Multi-CD set that has two numbering schemes; disc labels include both numbers digit ISMNs have historically been designated in OCLC using st indicator 3. The MARC documentation has been revised to clarify that both 10- and 13-digit ISMNs can be designated using 1 st indicator 2. 30

32 For audio/video recording reissues, optionally record the issue and/or matrix number(s) pertaining to the original manifestation in 028 (1 st indicator 0 or 1). Do this in addition to formulating a structured or unstructured description of the related manifestation (see 27.1). If this description includes the issue and/or matrix number(s), set nd indicator to 0. EXAMPLES: COL-CD-6618 $b Collectables Records $b Atlantic $b Atlantic 500 Originally issued as analog discs in 1966 (Atlantic 1446; Soulero) and 1969 (Atlantic 1509; Laws' cause) $b Masterworks Broadway ML 4140 $b Columbia OL 4140 $b Columbia 500 Originally released February 15, 1949, as Columbia ML/OL More Than One Identifier for the Manifestation MLA recommendation: When a publisher's number appears in variant forms on an audio recording, its container, accompanying material, etc., record at least the form on the recording itself (e.g., the labels of a disc). If deemed useful for identification or access, record other forms as well. Follow each by a qualifier indicating its location, if appropriate. EXAMPLE: VDE-CD-552 $b VDE-Gallo VDE-552 $b VDE-Gallo $q (container) When two or more distinct publisher's numbers appear on an audio recording, its container, accompanying material, etc., record each, followed by a qualifier indicating its location, if appropriate. EXAMPLE: MS-003 $b Mosaic B $b Mosaic $q (container) 31

33 Generally record matrix numbers only if they are the only numbers shown on the resource. If deemed useful for identification or access, record matrix numbers even if the resource also bears regular publisher's numbers. Follow each matrix number by the word matrix in parentheses. EXAMPLE: P 406 $b Folkways Recs. & Serv. Corp EFL 1406 $b Folkways Recs. & Serv. Corp. $q (container) FP 406 $b Folkways Recs. & Serv. Corp. $q (matrix) Matrix number recorded because it might appear with FP in catalogs or citations. Generally follow LC-PCC PS for the optional addition, that is, record identifiers for all units, including cases where scores and parts bear separate identifiers, if feasible. Follow each identifier by a qualifier indicating the unit(s) to which it refers. Follow LC-PCC PS for the alternative Publisher's Number for Music MLA recommendation: If feasible, record all publisher s and distributor s numbers appearing on the resource. Apply the basic instructions on recording identifiers for the manifestation given under However, do not precede the number with a trade name or the name of the agency, etc., responsible for assigning it. If the resource has more than one number, record a brief qualification only if considered important for identification, e.g., if numbers for parts of the resource are recorded. Record the name of the publisher or distributor associated with the number in 028 $b, in the same form as that transcribed in the publisher s/distributor s name element. However, do not include levels of corporate hierarchy. When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr." appears with a publisher's number, do not consider it to be part of the number and do not record it with the number in 028 (1 st indicator 3). If, however, initials, abbreviations, or words identifying the publisher also appear with the number, transcribe the entire statement as it appears in 028 (with 2 nd indicator 2) or a 500 note, even if this means giving again a publisher's name already transcribed as such. Do this in addition to recording the number alone in 028; set 2 nd indicator to 0 in this case. 32

34 EXAMPLES: FK $b Serenissima Music Inc HL $b Hal Leonard Corporation $b C.F. Peters Edition Peters Nr $b C.F. Peters or $b C.F. Peters 500 Publisher's number: Edition Peters Nr For reprint scores, optionally record the publisher s number(s) pertaining to the original manifestation in 028 (1 st indicator 3). Do this in addition to formulating a structured or unstructured description of the related manifestation (see 27.1). If this description includes the publisher s number(s), set nd indicator to 0. For multipart notated music resources, apply the LC-PCC PS for the optional addition at , that is, follow each publisher s number by a qualifier indicating the unit(s) to which it refers. 33

35 Plate Number for Music MLA recommendation: If feasible, record all plate numbers appearing on the resource. Apply the basic instructions on recording identifiers for the manifestation given under However, do not precede the number with a trade name or the name of the agency, etc., responsible for assigning it. If an additional number, corresponding to the total number of pages or plates, follows the plate number (often after a dash), do not consider it part of the plate number. If the resource has more than one number, record a brief qualification only if considered important for identification, e.g., if numbers for parts of the resource are recorded. Record the name of the publisher or distributor associated with the number in 028 $b, in the same form as that transcribed in the publisher s/distributor s name element. However, do not include levels of corporate hierarchy. EXAMPLES: D $b Doblinger CMBV 063 $b Centre du musique baroque de Versailles When a designation such as "no.," "Nr.," "cat. no.," "Ed. Nr." appears with a plate number, do not consider it to be part of the number and do not record it with the number in 028 (1 st indicator 2). If, however, initials, abbreviations, or words identifying the publisher also appear with the number, transcribe the entire statement as it appears in 028 (with 2 nd indicator 2) or a 500 note, even if this means giving again a publisher's name already transcribed as such. Do this in addition to recording the number alone in 028; set 2 nd indicator to 0 in this case. For reprint scores, optionally record the plate number(s) pertaining to the original manifestation in 028 (1 st indicator 2). Do this in addition to formulating a structured or unstructured description of the related manifestation (see 27.1). If this description includes the plate number(s), set nd indicator to 0. For multipart notated music resources, apply the LC-PCC PS for the optional addition at , that is, follow each plate number by a qualifier indicating the unit(s) to which it refers. 34